An Unforgettable Classical Revolution During The Teenage Growth Of Malayalam Literature
Several noticeable moments were recorded between 16th and 19th centuries that reflected the assimilation of the great treasures of Sanskrit which escalates to unique level and lofty personal visions of at least four great poets of all times. Those melodic streams of poetic enchantments were flown from Thunjathu Ezhuthachan, Kumaran Asan, Ullur Parameswara Iyer and Vallathol Narayana Menon. The later three great poets are collectively nicknamed as the Great Trio (Mahakavithrayam).Thunjathu Ezhthachan’s residence is situated near a beautiful township called Chittur. Away from all busy life, in the valley of Kollamkode there is a small village called Ramanandhapuram and the silently flowing Chittur River. There you will see the Great Ezhuthanchan’s Matam. In an ironic sense, to remember Ezhuthanchan’s endeavors to eliminate immoral statues of cultural arena he renamed the name of Chittur River as "Shokanasini". Today his place is turned into a museum exhibiting his old writing tools and pictures of Gods he used to worship. People all over Kerala still believing to bring their little ones for the ritual ceremony called ‘Ezhuththiniruththal’ (first time writing the Malayalam alphabets). Ezhuthachan’s greatness lies in the fact that he plastically handled the material to communicate his own world-view. He had an agonized sensitiveness regarding the beat of time that swept everything to the vast engulfment in decay and oblivion. He was also a massive synthesis of the ways of work and of devotion. "It is very obvious from his influencing saying referred to Poothannam's sixteenth century, ‘Jnanappana’. Her remebers reflected his feelings in many writings that when Poothanam's own child died in a tragic accident, his meditation roves over the wayward drift of the world. But finally he wins reconciliation at last".
His words were "When infant Krishna sports in my heart, do I need others as mine own kids?" These words were only one of his many way of expressing how deep he used to admire Lord Krishna, the eternal child. His profound approach in writing also reminds us that his great art transmuted the pain of the world also delight in a reconciling vision that found enduring meaning in transient pain. Ezhthachan also taught us that the expressed meaning of one’s heart could also be sought in fresh explorations, not necessarily through the frame of traditional world-views. If there is creative convergence, then it is a rediscovered endeavor. Classicism, not of the profounder type of Ezhuthachan’s but of the tensionless temper which has generally prevailed for three centuries since sixteenth century, maintains always a distance between reality and image. His contributions were in a unique sense classic too but in a nontraditional way.
Kumaran Aan’s (1871-1924) entrance in to Malayalam literature is a metaphor for human life. Asan’s poetic expression on one side reflects his hatreds towards social discriminations to lower casts. He always tried to find rationale to the ultimate world life with intrinsic meaning. His thoughts were transformed and portrayed, in his poems, by true love. He is greatly influenced by Narayana Guru, one of the greatest philosopher and cultural activist. Asan aimed to establish newer boundaries to Malayalam literature by awakening the illiterates by educating them the caste supremacy in both cultural and politic level. His first elegant poem ‘Veena Poovu’ describes the tragic downfall of human life style in modern world. Combining his aspirations as a patriotic nationalist his poetry proclaimed bondage of ignorance and human life deprived of fundamental human dignities. His messages are more emphasized in his miniature epic, ‘Duravastha’. In Duravastha, an upper class Brahmin lady named Savithri gives shelter to a lower caste human being named ‘Chathan’ who lost everything during a Muslim riot in Malabar. Savithri who has fallen in love with Chathan further crossed the existing society’s forbidden boundaries by marrying the lower caste man who was during that period considered as an untouchable. Asan’s message provoked the orthodox community. The ruling upper class headed by A. R. Raja Raja Varma found fault with Asan’s writings and diplomatically out-shelved proclaiming faulty Sanskrit style. Asan’s other noticeable contributions to Malayalam literature include Nalini, Leela, Chandalabhikshuki, Chindhavishtayaya Sita and Karuna. In all of these epics Asan intends to utilize the powerful expressions of womanhood. His works also invited significant attention and strength from Buddhism. He tried to convey the iniquities prevailed at that time in caste through realistic approaches using the media of love. In Chandalabhikshuki, a low caste woman named Manthagini accepts a drink of water from a young Buddhist monk and finally she undergoes conversion to become a Buddhist nun. In Karuna, the courtesan Vasavadhatha is getting attracted to a Buddhist monk named Upagupta after hearing his prolonged preaches related to true values of life. When Vasavadatha was convicted and punished by dismembered her limbs for murdering one of the merchants, Upaguta visited her again to comfort her with the compassion of the Buddha. Asan’s intention in this epic is to renew society’s desire. At the same time Vasavadatha is a metaphor of alienation and decay. The other poet during the same period or immediately after Kumaran Asan who invoked the Buddha and Jesus metaphors was Vallathol, a member of the Great Trio.
Vallathol Narayana Menon (1878-1958) might not have been able to analyze the far reaching consequences of political and economic programs. But he was bale to respond generously to the immediate human significance of such measures. He sang of many facets of the nationalist movements, the return to the village, the fight against caste and the revolt against foreign domination. His first of his eight masterpiece ‘Sahithya Manjari’ he eloquently demonstrated his caliber in incorporating both Sanskrit and Dravidian meters. Then he changed his style of writing from religious themes to nationalistic movements. He was a strong believer of Gandhian thoughts. The first lessons of Vallathol’s Gandian thoughts were began lightened up in him during his intimate friendship with C.P. Govindhan Nair, who was a man with gem of solid principles. C.P. Govindhan Nair was later known to this world by the nickname, C.P Mashu. Vallathol’s peom "Ente Gurunathan" is an eloquent testimonial of Gandhian disciplines. Vallathol’s celebrated works include Bhandhanastanaya Anirudhan, Virashrikala, Divaswapnam, Achanum Makhanum and Magnalana Mariyam. Vallathol’s Magnalana Mariyam initiated a strong wind for a modern tradition of Christianity in Malayalam.
Vallathol Narayana Menon also revolutionized several arts after he witnessed their decline. He built one of all time famous institutions near Thrissur, by the name ‘Kerala Kalamandalam’. Kerala Kalmandalam is popular than ever at present time by attracting thousands of foreigners to receive rigorous training on site. There are several international institutions around the world too working hard for providing the best available lessons to devotees of this art.
Among the Great Trio, Ullur S. Parameswara Iyer was the prolific scholar. Due to his participation in the ruling dynasty, he was often criticized for backing up or being partial to political decisions. However, his overall contribution to Mlayalam literature is beyond any dispute or debate. He is well praised for his diversity, versatility and of course for his continuous productivity. His prominent contributions for the growth of Malayalam literature include Umakeralam, Karnabhushanam, Bakthi Deepika and Kiranavali. His another major area of contribution point toward uplifting a sense of pride and to bring dignity and identity to Malayalam literature. He has accomplished his hunger while serving as one of the top officials in the government and as an orthodox Brahmin.
Once the Great Trios brought back a new light and modernism to Malayalam literature, the flow was so smooth. Malayalam literature sky rocketed thereon. Malayalm literature had never ever looked back or slowed down from those days during its glorifying growth. The modern Era began with the awareness brought to all of us by these great poets. They have created such a massive platform creations for generations to come.
HARI KOCHAT